The following is a partial list of coming events at the School of Music and Depart- ment of Dance. For more information, call our Community Relations Office weekdays at (541) 346-5678. FEBRUARY Feb. 4 -Oregon Composers Forum Feb. 5 - Bones & Brass with Roosevelt Middle School Choir ' Feb. 6 -Trio di Milano (Chamber Music Series) Feb. 7 -The Jazz Cafe Feb. 9 -The Throat-Singers of Tuva (World Music Series) Feb. 11 -University Symphony Feb. 12 -Oregon Wind Ensemble Feb. 13 -Barbara Baird, organ J. Robert Moore, oboe (Faculty Artist Series) Feb. 15 -Pint-sized Opera (Children's Concert Series) Feb. 18-Pacific Rim Gamelan Feb. 24 -Future Music Oregon Feb. 25 -Oregon Vocal Jazz Feb. 27 -Gospel Ensemble and Gospel Choir Feb. 28 - Danceability Project Feb. 28 -The Jazz Caf6 MARCH March 1 - Jammin' Jammies (Children's Concert Series) March 2 - Chamber Musicale March 4 - Los Angeles Piano Quartet (Chamber Music Series) March 5 - Oregon Wind Ensemble March 6 -University Symphony with Milagro Vargas, mezzo-soprano March 7 - Oregon Composers Forum March 9 -University Singers, Chamber Choir. Collegium Musicum March 11 -Men's Chorus, Women's Chorus March 12 - Willamette Trio with Leslie Straka, viola March 13 -Symphonic Band, Campus Band March 14 -Oregon Jazz Ensemble & Jazz Lab Bands MUSIC TODAY FESTIVAL April 7 -May 4 (See inside caterfor schedule) School of Music home page on the Internet: http: / /music1 .uoregon.edu UNIVERSITY OF OREGON School of Music 1225 University of Oregon Eugene OR 97403-1225 FORWARD AND ADDRESS CORRECTION NONPROHT Organization U.S. Postage PAID Eugene, Oregon Permit No. 63 UNIVERSITY of OREGON SCHOOL of MUSIC & DEPARTMENT of DANCE NEWSLETTER for ALUMNI & FRIENDS February, 1997 Vol. IX, No. 1 UO Chamber Music Series Premiere of music by Thomas Svoboda 8 p.m., Beall Concert Hall PRE-CONCERT TALK Thursday, April 10 CHARLES DOWD, Percussion UO Faculty Artist Series "Bad Boys of Music" 8 p.m., Beall Concert Hall Saturday, April 12 STRING TRIO OF NEW YORK and BANG ON A CAN ALL-STARS ** 7 p.m., 9:30 p.m., Silva Hall, Hult Center Monday, April 14 GARY VERSACE, Jazz Piano UO Faculty Artist b Guests 8 p.m., Beall Concert Hall Tuesday, April 15 OREGON COMPOSERS FORUM New music by UO graduate composers 8 p.m., Beall Concert Hall Friday, April 18 KARTIK SESHADRI, Sitar UO World Music Series Classical music of North India 8 p.m., Beall Concert Hall Saturday, April 19 HAROLD OWEN CELEBRATION 8 p.m., Beall Concert Hall MEET THE ARTIST RECEPTION immediately following (Room 186) Monday, April 21 ELLEN CAMPBELL, Horn UO Faculty Artist Series 8 p.m., Beall Concert Hall Wednesday, April 23 THE OREGON SYMPHONY ** Murry Sidlin, conductor Premiere of Robert Kyr's Symphony No. 7 ("The Sound of Light") on texts of Denise Levertov. 8 p.m., Silva Hall, Hult Center: PRE-CONCERT TALK featuring Robert Kyr, Denise Levertov Thursday, April 24 LOU HARRISON MEETS SOFIA GUBAIDULINA Oregon Percussion Ensemble celebrates composer Lou Harrison's 80th birthday 8 p.m., Beall Concert Hall Friday, April 25 THE JAZZ CAFE UO Jazz Combos 8 p.m., Room 186 Music Monday, April 28 BASSO BONGO/PACIFIC RIM GAMELAN Premieres of three works commissioned by the Lila Wallace/Reader's Digest Foundation 8 p.m., Beall Concert Hall PRE-CONCERT LECTURE-DEMO Tuesday, April 29 OREGON STRING QUARTET UO Faculty Artist Series 8 p.m., Beall Concert Hall Wednesday, April 30 UO FACULTY OCTET UO Faculty Artist Series 8 p.m., Bed Concert Hall Friday-Sunday, May 2-4 AARON COPLAND'S AMERICAN VISION ** Oregon Festival of American Music Featuring the Debussy Trio and Continuum. Readings and educational events at School of Music; Evening concerts at the Hult Center Ticketsfor events with asterisks P) are available in advance at the Hult Center (541) 687-5000 is the official newsletter of the University of Oregon School of Music and Department of Dance, and is published twice a year for alumni, faculty, and friends of the school. Your letters and contribut- ions are always welcome. Address all correspondence to: LEDGER LINES School of Music 1225 University of Oregon Eugene, OR 97403-1225 or call (541) 346-3761 DEAN: Anne Dhu McLucas ASSOCIATE DEAN: Gary Martin DEVELOPMENT STAFF: Joan Gardner-School of Music Peggy Renkert-Oregon Bach Festival EDITOR: Scott Barkhurst ASSISTANT: Tamara Temple CONTRIBUTORS: Diane Baxter, George Evano, Joan Gardner, Robert Kyr, Gary Martin, Anne Dhu McLucas, Helen Shafran COVER PHOTO by Scott Barkhurst Beall Concert Hall as it looks today, on its 75th anniversay, surrounded by mature landscaping and the patina of middle age. The University of Oregon is an equal opportunity, affirmative action institution committed to cultural diversity and compliance with the Americans with Disabilities Act. Tnis publication will be made available in accessible formats upon request. Anne Dhu McLucas, Dean s you are reading this note from me, A I am off in Europe on a research trip, intended to recharge my mental batteries, catch up in some of my fields of interest, and make me a more alert and lively mental presence when I re- turn in mid-March. As I put it to some of my faculty (and the provost, who gra- ciously authorized the trip,) I need to collect back the brain cells that I have lent out over the past four and a half years, so that I can continue to give my all when I return. Among the topics that I will tackle in libraries in this country, as well as in Europe, are my research on British-American fok-tune families, American theater music of the 19th cen- tury and its connections in Europe, and finally, an old field of research that I left when I finished my master's degree in 1967(!): the wonderful music and in- triguing life of Wilhelm Friedemann Bach, the eldest son of J.S. My interest in both his life and his music was re- kindled this summer when I was a part of the Bach Colloquium run by Chris- toph Wolff for the Oregon Bach Festival. I will be spending the very first part of January brushing up on my 30-year- old German at the Goethe Institute in Munich, then heading off to libraries and to Stuttgart, where I hope to spend some fruitful time with Helmuth Rillmg, discussing ways the Oregon Bach Festi- val and the School of Music can be even more cooperative and the relationship be more beneficial for our students. I will then head back to Boston to use the Harvard and Boston Public Libraries for some theater and folk music research, before coming back to the Northwest and the national meetings of the Sonneck Society for American Music in Seattle, where I will be inducted as its new president in early March. In my absence, Gary Martin, our Associate Dean, has kindly stepped in to take over the day-to-day running of the school, a job he knows well from his two years as interim dean before I came. I will be in touch with the school by telephone and E-mail throughout my sojourn for consultation on anyth'mg major that may come up. The staff and faculty at the School of Music are so capable that I'm convinced they will hardly miss me. My sense of joy and anticipation of this short research sojourn has made me realize how important the concept of refreshing our knowledge and rekin- dling our own curiosity and creative urges is for teachers. Since coming to the School of Music I have encouraged our faculty to find ways of providing them- selves opportunities to travel to confer- ences, obtain summer research grants, and take full-year or partial-year sab- baticals. I always find that the result is a refreshed, more effective, more enthusi- astic faculty member, better able to give the students what they need in turn. We have fortunately been helped by a gen- erous donation from the Richards family to the Dean's Discretionary Fund so that I could help out on travel money for some of these trips. When I'come back for spring term there is much to look forward to-and you will be reading about some of it in the pages that follow: Music Today, the Oregon Symphony Residency, and the many student concerts and recitals that fill our late spring with such a plethora of wonderful performances. And I will be ready once again to lead the school in what I hope will be a posi- tive direction toward the 21st century. Beall Concert Hall Celebrates its 75th Year Beall Concert Hall in the 1930s, with its wooden seats and sunshine-fuiendly windows B EALL CONCERT HALL is officially that depends on when you start count- ing. A special reception and a commemo- ration ceremony were held at the School of Music on Oct. 10, prior to a sold-out Chamber Music Series concert by the National Chamber Orchestra of Toulouse. UO Archivist Keith Richard and Leland Roth, who holds the Marion D. Ross Distinguished Chair in Architecture at the university, were among those who ed that a building be built expressly for music. Five years later a committee was created to resolve the problem of insuf- ficient instructional space on campus, and a music building was among their four recommendations. The funding was initiated by the Alumni Holding Company-the fore- runner of today's UO Foundation-and the ten-year bonds were paid back on schedule. The "new" music building was actually a hybrid of old and new: - . . spoke on the history - the offices and and architectural classrooms were oririns of Beall Hall at Thotl~h Concel't Hall housed in a con- " L. the pre-concert cer- Was constmcted in 1921, verted wooden emony, attended by it didn't its name barracks from nearly 200 friends, World War I; and donors, and alumni until a late'' although the struc- u of the music school. ture of the new I brick recital hall was comoleted in 1921. 1 The Birth of a Music School lack oi fund prr\ mted the somylc.tion The' Lniver.;ity of Oregon creaked a of iht concert stage and the instdlation Department of ~usi~in and by 1900 the Department had received official School of Music status. Condi- tions for teaching music on campus at the turn of the century were fairly crude; most instruction occurred in Friendly Hall, which also served as a university dormitory. In 1915, the Dean of the School of Music, Ralph Lyman, request- of seats and the ~euter until 1925. The inaugural concert was on April 4, 1925-so Beall Hall is 75 years old or 71 years old, depending on which phase of construction you embrace. Beall Hall did not actually receive its name until half a century later. Rob- ert Vinton Beall, a farmer from the Medford area and a member of a pio- neer family, attended the University of Oregon from 1894-97 and, upon his death, donated a sizable sum of money to the university to establish and main- tain a living memorial to pioneer women in Oregon. His bequest funded construc- tion of the School of Music's nationally- renowned Jurgen Ahrend organ, which was completed in 1972. Beall Hall was named in 1973 in honor of the Beall family legacy Architectural History of the Hall B eall Concert Hall was designed by Ellis F. Lawrence, architect and founder of the University of Oregon School of Architecture and Allied Arts. Lawrence consistently produced build- ings of distinction throughout the North- west and is renowned for designing some of the most important and beauti- ful buildings on campus. These include the Museum of Art, the original core of the Knight Library, Hendricks Hall, and Gerlinger Hall. His prolific contribution to the campus represents a definitive proportion of the elements that establish its character. Beall Hall has been repeatedly praised for its superb acoustics, and Boardwalks provided access to the recital hall during its early years. Leland Roth provided some fascinating background on Lawrence's apparent inspiration for its design. Lawrence earned a master's degree in architecture in 1902 from MIT in Cam- bridge, Mass. Whie studying there, Lawrence was well aware of the success of another well-known orchestral hall across the Charles River, namely Boston Symphony Hall, the new home of the Boston Symphony. At the time of Boston Symphony Hall's design, the president of Harvard University recommended that Wallace Sabine, a young physicist on the Harvard faculty, be consulted about the acoustics of the proposed hall. Sabine had developed some new theories about the control of acoustics, and employed them in the construction of several halls on the Harvard campus. Sabine's recom- mendations were accepted and imple- mented, and the new orchestra hall was finished. As performances began to take place in 1900, it became apparent that Boston Symphony Hall set a new standard in acoustical performance for music halls. It was in that environment that Ellis Lawrence was completing his architec- tural studies across the river at MIT, and several people are convinced that Law- rence designed Beall Hall based on his familiarity with Boston Symphony Hall. In 1906 Lawrence came west, on his way to San Francisco. The famous earth- quake that struck San Francisco that year put an end to Lawrence's plans in that city, and he settled in Portland. Eight years later, UO President Prince Lucien Campbell took a bold step and asked Lawrence to develop a compre- hensive plan for the development of the University of Oregon. Lawrence did so, and was also later appointed university architect, subsequently supervising the construction of 25 campus buildings and establishing the campis architect&al plan so admired today Changes and Additions ver the years Beall Concert Hall has undergone a few significant changes. The distinctive glass windows were painted over and the curtains re- moved, perhaps to better control light- ing, perhaps because of blackout regula- tions during World War 11. The original seats were folding wood seats on metal frames, and the balcony still uses those seats for acoustic reasons. The current seats on the main floor were installed when the hall was remodeled in 1973, and replacing them is now the top prior- ity for capital improvements to the hall (see following story). In 1950 the first addition to the mu- sic building came when its southern brick wing was added, containing fac- ulty studios, soundproof instruction rooms, and a specially designed choral room. The last major construction came in 1978, adding the north wing (with large rehearsal rooms, classrooms, and faculty studios), and the east wing (con- taining faculty studios and practice rooms). titularly for chamber music. Joel Krosnick, cellist with the renowned Juilliard Quartet, said "Beall Concert Hall is one of the three or four best chamber music halls in the country." Over the years some of the world's fin- est artists have appeared on the stage of Beall Hall, including the Beaux Arts Trio, the Tokyo Quartet, sopranos Arlene Auget, Sylvia McNair, and Phyllis Bryn- Julson, The King's Singers, jazz artist Billy Taylor, pianist-composer Bela Bartok, and sarod artist Ali Akbar Khan, to name but a few. Until the Hult Center for the Per- forming Arts was built in Eugene in 1982, Beall Hall was the only true music hall in the region. Consequently, it was a "home" to a number of arts organiza- tions over the years, including the The University Symphony and Glee Club in a 1926 photo taken in Beall Hall. Present Uses B eall Concert Hall is the primary performance hall at the School of Music. It is used not only for classes, but for nearly 200 performances annually, including student and faculty recitals, concerts by UO ensembles and guest artists, and for conferences and special events such as the Oregon Bach Festival, Oregon Jazz Celebration, and the Music Today Festival. During the academic year, it is not unusual for the hall to be in constant use from 8 a.m. to 10 p.m. Beall Concert Hall has become widely known as one of the premier recital halls in the country, and its acous- tic excellence is well-documented, par- Eugene Symphony, the Oregon Mozart Players, the Eugene Gleemen, the Eu- gene Symphonic Band, the Eugene Youth Symphony, and our own Oregon Bach Festival. Seventy-five years after its construc- tion, Beall Concert Hall is still one of Oregon's architectural and artistic trea- sures. With the planned addition of new seats and persistent stewardship of the hall's physical character, Beall Concert Hall will continue in its high tradition of service to the students of the University of Oregon, and will be an enduring focal point in the arts of our community and our state. + Musical Chairs: New Campaign to Replace Aging Beall Seats S ince the 1920s, Beall Hall's acoustics A seat sponsorship is a thoughtful of this century's greatest musical artists. or to commemorate your appreciation of But in recent years, even such luminaries dear old "Ma Beall." Such a tribute helps as Helmuth Rilling or the Guarneri preserve the tradition of Beall Hall String Quartet would have had : trouble keeping you rapt with and is also a lasting, tangible remembrance for you. And, attention if your seat was your seat sponsorship is tax broken or uncomfortable. deductible to the fullest extent After years of great music allowed by law. and thousands of perfor- By supporting the cam- mances, Beall Hall's main paign, you will advance the floor seating must be replaced. School of Music, the Chamber The goal of the Beall Hall Seat Replace- Music Series, higher music edu- ment Campaign is to raise the funds cation at the University of Oregon, the necessary to cover one-half of the cost of Oregon Bach Festival, and other worth- replacing the main floor seats, painting while musical endeavors. All amounts and recarpeting the lobby, and replacing are gladly received. WHAT'S WRONG WITH THIS PICTURE? The Beall Hall auditorium has been repainted, refurbished, and had the lighting system enhanced in recent years. Replacing the 24-year-old seats is a major hurdle in restoring the beauty and integrity of this historic space. the worn-out (and taped together!) lobby sofas. For a sponsorship of only $300, a brand new seat will be installed in Beall Hall-and your name, a memorial to someone you wish to honor, or the name of your business will be engraved on a plaque inset on the seat arm. Plus, you can choose your seat location; many alumni and friends have favorite spots. Sponsorships can be made using a variety of methods. All sponsors can pay the full sponsorship amount outright (via cash or credit card), or make a pledge of up to 12 months. And Univer- sity of Oregon employees may take advantage of the payroll deduction sys- tem to make monthly payments without ever having to think about it-for ex- ample, only $50 per month sponsors huo %its! The new seats are expected to last )r many years. Their combination of on and steel construction, extra pad- ing, and extra width will provide dura- ility and comfort for all concert-goers. So if you are one of the many who ave had wonderful musical experiences ere over the years, you can be a part of :furbishing Beall Concert Hall's warm mbience and unique charm, and ensure s continued status as one of the North- lest's best acoustical music halls. + FACTS THE BEA HALL CAMPAIGN The goal is to replace worn- main floor seats in Beall Hall. T current seats have been used for thousands of events over 20+ More than 300 seats on th floor will be replaced. Balcony s will be preserved as is, and ar included in the campaign. For $300, donors receive an e graved plaque on one new seat. The project cost is $140,000, of which will be paid by the sity. It includes painting, carpeti and other improvements. Campaign was launched Janu 19 with an address by UO Presi Dave Frohnmayer at Beall Hall, performances by faculty artists the School of Music. The acoustical excellence of B Hall will be retained; the custom seats are designed by American Seating, supplier of many of America's great concert halls. Donors to the campaign a asked to send their contributi March 31. "A donation to the seat cam is an affordable but significan tribution to music education at university, and is a long-lasting to music in the community." -Peter Bergquist, campaign co-cha To sponsor a seat, make a pledge, or get more mnformation, call the Beall Hall Seat Campatgn Headquarters at (541) 346-1321. + The Music of N o other city of its size in the Eugene in terms of commitment to the arts and the presentation of new works. Eugen- ians often stand and cheer at a premiere, as they did last summer during the Oregon Bach Festival when four Cantatas of the Americas (by Bouchard, Golijov, Jaffe, and Kyr) were inaugurated. But during this academic year, Eugenians and their guests will have new reasons to celebrate: the School of Music will once again host the inuova- tive Music Today Festival, which rivals the largest and most diverse new music fests found in teeming urban centers. The biennial festival is an interna- tional, cross-cultural cornucopia of events. Twentieth-century music from around the world is programmed to give listeners a living connection to the con- cert music of our century and an invita- tion to extend their hearts and minds into the future. The festival runs April 7 -May 4 at the UO School of Music and the Hult Center for the Performing Arts. Music Today Festival April 7-May 4,1997 From its inaugural season in '93, the Music Today Festival has been an affir- mation of Eugene's vital cultural climate and the marvelous diversity of artistic endeavors that thrive here. This year's festival includes an impressive range of ensembles and arts organizations: the Oregon Symphony, the Oregon Festival of American Music, the Hult Center, and various guest artists. "This year's festival is truly distinc- tive," says director Robert Kyr. 'We are featuring the music of Oregon compos- ers as well as music from around the world. The festival will feature an 80th Robert Black of Basso Bongo will be one of the guest artists at the Music Today Festival birthday tribute to native Oregonian Lou Harrison, a retrospective of music by retiring UO composition professor Harold Owen, and the premiere of a piano trio by Thomas Svoboda, compo- sition professor at Portland State." The "Hal Owen Celebration" on April 19 will present the music of one of the university's most eminent and dedi- cated faculty members, noted for his choral music and his widely used coun- terpoint textbook. Owen is retiring in June '97, but will continue to teach his renowned counterpoint course, consid- ered to be one of the most challenging and substantial of its kind in the country. The concert will be followed by an open reception (with some musical surprises). Charles Dowd will lead the Oregon Percussion Ensemble in a celebration of the percussion music of Lou Harrison, juxtaposing the Northwest premiere of Mistermo by Moscow's own avant- earde iconoclast. Sofia Gubaidulina. " And portland is coming to Eugene for the festival as well-in a very big way The Oregon Symphony will be in residence at the University of Oregon on April 23 during its spring tour of the state. During the day, members of the symphony will give instrumental master classes and workshops designed by resident conductor Murry Sidlin. In the evening, the Oregon Symphony will give the premiere of Robert Kyr's Sym- phony No. 7 ("The Sound of Light") which has been commissioned by the Oregon Humanities Center in celebra- tion of its 10th anniversary. The work is a collaboration between Kyr and Denise Levertov, recognized as one of the century's major poets. Levertov will be in residence at the university as well, giving a seminar and a reading of her poetry through the Oregon Humanities Center; furthermore, she will read her own poetry during Kyr's symphony, which traces the changing of light from the dawn of one day to the next. Also on the Music Today roster is the Leontovych Trio from Russia, sitar artist Kartik Seshadri performing classi- cal music of North India, Basso Bongo from Hartford/Los Angeles, Continuum (New York), The Debussy Trio of Los Angeles, and Bang on a Can All-stars from New York. Other UO faculty and ensembles slated to perform are Charles Dowd, percussion; Ellen Campbell, horn; Gary Versace, jazz piano; the Oregon String Quartet; Pacific Rim Gamelan; and the Oregon Composers Forum (graduate composers from the University of Oregon). nother special event at this year's A festival will feature three new works commissioned through the presti- gious Lila Wallace/Reader's Digest Foundation. The commissions have been awarded to four composers to create three works for electronic duo (Basso Bongo) and Balinese gamelan. The par- ticipating composers are Evan Ziporyn (with the MIT gamelan), Robert Kyr (with the UO's Pacific Rim Gamelan), and the collaborative team of Elaine Barkin (UCLA) and I Nyoman Wenten (with the Cal Arts gamelan). The three works will be performed twice by each of the participatmg gamelans, and will Continued next page MUSIC TODAY, continued be conducted by each of the composers. The grant is one of the most competitive in the country, and this award marks the first time that it has been given to either an electronic or a "non-Western" instn- mental ensemble. The festival concludes with the inauguration of The American Compos- ers Series, sponsore.1 by the Oregon Fcst~vd of American hlusic (OFAM) under the theme of "Aaron Copland's : American Vision." The series will in- clude two concerts, a sampler of Copland's music at the Hult Center, a mini-filmfest of movies with scores by Copland, and public readings and a concert of music by young composers from around the country. Music Today is a user-friendly festi- val: it incorporates a wide variety of pre- concert talks, master classes, and Meet the Artist receptions, designed to edu- cate students and the listening public about the many lives of new music, its creators, and performers in the twentieth century and beyond. A Calendar of Events is printed on the inside cover of Ledger Lines. For additional information about the Music Today Festival, call the festival office at (541) 346-5680 or the School of Music community relations department at 346-5678. + The Oregon Bach Festival's 1996 poster won a first place in the annual International Graphics Competition, sponsored by the International Society for the Performing Arts. The poster was one of more than 100 submitted from 11 countries. This is the second year in a row that the Festival has won an award from ISPA. The 1996 poster was illustrated by Marilee Heyer for the theme "Bach and the Americas." Oslund Design of Eu- gene created the typography and layout, under the direction of OBF staff mem- bers George Evano and Neil1 Archer Roan. Heyer will also be the artist for the Oregon Bach Festival's 1997 poster, "Bach and the Romantics." + Oregon Bach Festival to Honor Romantics A nniversaries of important era provide the central focus of the 1997 Oregon Bach Festival and its theme "Bach and the Romantics," which takes place June 27-July 13 in Eugene under Artistic Director and Conductor Helmuth Rilling. This year's schedule also includes concerts in Corvallis and Portland. 1997 marks the 100th anniversary of the death of Johannes Brahms. The German Requiem, one of the most promi- nent choral works of the Romantic era, will be performed July 3. His Liebeslieder Waltzes will be featured as one of the Festival's Discovery Series of lecture- concerts. The 150th anniversary of the death 3f Felix Mendelssohn will be honored with a performance of Psalm 42 in the Discovery Series. Rilling will also con- iuct the J. S. Bach St. Matthew Passion in 3 matinee July 6. Mendelssohn's revival ~f this full-scale oratorio in 1829 is largely cited for a resurgence of interest in the music of Bach. The 200th birthday of Schubert will be marked by a performance of the S Major Mass in the Discovery Series. Rilling leads off the 28th Festival with the Beethoven Missa Solemnis. He will also conduct an all-Bach program of the Orchestral Suites Nos. 3 and 4 and Brandenburg Concertos I b IV June 29 in Eugene and later in Corvallis. For the final concert, Rilling con- iucts Handel's lephtha for the first time at the Oregon Bach Festival. The sweep- ing oratorio sets the dramatic Old Testa- ment story of a solider whose faith is tested when commanded to sacrifice his daughter. Jephtha will be first performed in Portland Saturday, July 12, before the closing matinee in Eugene on July 13. In all, the Festival will present 30 concerts, including chamber music and children's concerts. Also on the schedule are social events, lectures, talks, and an annual master class in conducting. Most events take place at Silva Hall, in the Hult Center for the Performing Arts, and Beall Concert Hall at the School of Music. Tickets go on sale March 21,1997. For a brochure or more information, call the Oregon Bach Festival office, (541) 346-5666. + Helmuth Rilliny Seeing the Process - by Diane R. Baxter Diane Baxter received her D.M.A. from the University of Oregon in 1985, under the guidance of Marlene Thal. Baxter has been on the faculty of Western Oregon State College since 1988, teaching piano perfor- mance, music history, and music apprecia- tion. Baxter received WOSC's Faculty Honors Award in 1993, and this article was given as a speech prior to her honors recital. I want to tell you some of the best a musician, a teacher. And while it is obvious to you that I teach piano here, I maintain that the piano is only the "ve- hicle" for what I am really doing! What I am really doing is what many of you are also doing, teaching and assisting stu- dents in discovering "process." We are all aware of the product of musicians, that is, concerts and music- making. Often the observer doesn't give much thought, if any, to what goes on before the performance. For the listener, it is a one-time event. For the performer, it is the natural outgrowth of a very detailed and complex process. It is not a destination; rather, it is only one vantage point, one stop-over, that occurs BE- CAUSE of the process itself. In a time when the balance in education seems to be shifting to a "product-based model, it is crucial to examine the idea of "pro- cess" and how it relates to scholarly pursuits. Let me tell you the obvious. Musicians spend enormous amounts of time developing skills that are necessary to create their art. They read music, they listen, they study, they write, they think, they practice, and they perform-just like any scholar. The great majority of my time does not go into observing my students in concerts, with their "products." The vast majority of my time goes into listening to students and providing them with tools, ideas, and feedback, all part of the process in music-making. The very Diane Baxter HEART of the learning process itself is found in the arts. In what way, you may ask. Musicians learn to pursue long-term objectives, they discover how to draw together, and to learn from different points of view and how to develop their own viewpoints. They hone problem- solving abilities. They strive for excel- lence, and they quickly become aware of the need to be res~onsible and take ownership of their own learning. They develop the ability to deal constructively with both ambiguity and complexity. Students of music and the arts generate and apply informa- once, in a vision of the finished work. Viewed in this way, the "product" is merely a vehicle for the process. At a minimum I hope my students will come to understand the need to meet deadlines, and the value of coop- eration and interdependence. They must know that most jobs are done most per- fectly when no one notices that they have been done at all. They must come to realize that flexibility is needed, but within stylistic constraints - you may take time here and there, but you can't rewrite the piece! They must learn that for real problems there is never just one right answer, but that some answers will work better than others, and hopefully they will come to understand the neces- sity for meticulous preparation. Along the way are the added benefits of devel- oping self-confidence, compassion for others, a motivation to learn, and an active imagination. The skills developed through study- ing the arts can be transferred to every- thing else students do-be it science, literature, medicine, a job or a family The chairman of Atlantic Richfield, Will- iam Kieschnick, observed that abilities to deal constructively with ambiguity and complexity are highly sought after in the business community. In his words: "In the workplace of the profes- sional in business and government, two qualities in particular seem increasingly useful, indeed essential. I refer to the ability to innovate and the ability to constructively deal with ambiguity. The artist, and those trained in the knowl- edge of the arts, reflect these qualities." To my mind one of the most impor- tant asoects of the creative orocess is the The skills developed through studying the arts can be transferred to everything else students do-be it science, literature, medicine, a job, or a family. potential to see new possibilities within the same parameters, and/ or to create new ones. If this is not the essence, then why are there numerous record- tion in ~hou~htful ings of the same ways, and tcey develop discipline of the mind. The differences between the be- ginners and the pros may not lie in the information that they hold, but in their ability to organize that information all at piece? Why do people continue to paint landscapes and to photograph children and to write new poems and to do sci- ence? And why do people come to live Continued next page performances? It is because all of these represent new possibilities within known parameters, and/or to find new parameters. Awareness of the various stages of the process and the necessity t( allow for natural growth require com- mitment, trust, and desire. Passion seems to arise along the way, and if nurtured can gather a driv- ing momentum. At the risk of disagree- ing with beer commercial philosophy, I think it does get better than that: that is, : if the best moments of our lives are seen as the passive, relaxing times. The best moments, the VERY BEST MOMENTS, are when we are stretched to the limit in a voluntary effort to accomplish some- thing difficult and worthwhile. That is, when we are passionate about something We may resist somewhere along the way, we may say "no" to the demands that are posed. We may lose faith or desire or simply get weary. We may get distracted or we may simply decide that the view from the mountain top really wasn't worth the climb. But once burnec by the flame of artistic passion, the decision to try seems already to have been made: Art has chosen us. One of the best discussions of pas- sion, of which I am aware, was voiced by a cockroach named Archy Archy wac talking to a moth who was trymg to break into an electric light bulb. Noting that if the light bulb had been a candle, the moth would now be an unsightly cinder, Archie asks why moths pull such stunts. And the moth replies: it is better to be happy for a moment and be burned up with beauty than to live a long time and be bored all the while so we wad all our life up into one little roll and then we shoot the roll that is what life is for it is better to be a part of beauty for one instant and then cease to exist than to exist forever and never be a part of beauty our attitude toward life is come easy go easy we are like human beings used to be before they became too civilized to enjoy themselves and before i could argue him out of his philosophy he went and immolated himself on a patent cigar lighter i do not agree with him myself i would rather have half the happiness and twice the longevity but at the same time i wish there was something i wanted as badly as he wanted to fry himself s a teacher and performer, I try with A all my skill and training to emulate 3 "patent cigar lighter." Passion and the willingness to be generous with it be- :ome important features of our lives. Perhaps that is the essence of fine teach- mg: the willingness and the ability to uticulately share your passion. People Ire fascinated by those who carry pas- sion for something - sometimes I think young students believe that they will ~cquire by osmosis, by being around passionate people. I'm not so sure that ihey are wrong. We see people who are ieeply involved and who care and they 2ecome the role models for the rest of us. We know of Olivier Messaien creat- mg the Quartet for the End of Time in a Zerman Stalag. We know that Gyorgy Sebok overcame many insurmountable 2bstacles and personal challenges in his youth; yet he became one of the most ~stounding that I have -A :ver seen and neard. Bela Naw they haven't found their place, acknowl- edged their process or discovered their passion. That's why what we do here is critical, life-changing, eye-opening stuff. The particular result I attempt is com- mitted, interesting and interested, pas- sionate people. I love it when one of my students chooses concert-level pianism as his or her desire, but I am not disap- pointed when they choose to focus their lives in other disciplines. As I said be- fore, piano is merely the vehicle. S o why be a musician? There are as cians. We have a wonderful children's book at our house called Miss Rumph- ius. In this book a chid narrates the life story of her great-aunt Alice Rnmphius. Miss Rumphius grew up with the knowledge that she would do three things during her life-she would travel to distant lands and places, she would live in a cottage by the sea, and she would leave the world a more beautiful place. She does indeed travel to distant lands, and as an old woman with white hair, she lives in a cottage by the sea. But she remains troubled as to how to leave the world a more beautiful place, until one winter, in bed and ailing, she arrives at her solution. That spring she puts on a wonderful cape with big pock- ets, fills the pockets with lupine seeds and walks the countryside sowing lu- pine seeds every- where. Peo~le ", hspired so many :hat at his memo- I love it when one of my he; crazy and called :id service at students chooses concert-level her the Harvard, we came piani~m as their desire, but I Lady," until the ?om around the am not disappointed when next spring. She ~orld honor nim. Too few know they choose to focus their happy with the decision she ibout Marlene lives in other disciplines. had made, I Thal, who retained believe that each md generously shared her musical pas- sion until her death, even though pre- nature strokes had stolen her ability to day for the last 15 of her short 56 years. Even after her death, her legacy contin- ies in the musical library that I now lave in my office, and in the Steinway -hat graces our living room. The effect of one's passion cannot be inderestimated. Perhaps the lonelmess md despair that so many feel is because of us, in our own way, must leave our world a more beautiful place. Music is my passion and teaching is MY wonder- ful cape with big pockets. Not long ago I was driving home, about a 50-minute commute, going over a Mozart concerto in my head that I would be playing that night. I kept go- ing over certain passages thinking of rhythms, melodic gestures, and notes of which I wanted to be sure. After a while The School of Music was well-repre- sented at the formal investiture ceremo- nies of UO President David Frohnmayer, attended by more than 800 faculty, staff, and townspeople on October 4. The standing-room only crowd was moved to the EMU Ballroom as inclement weather threatened the original outdoor location. The University Singers, University Brass Choir, and Oregon Wind Ensemble each performed at various points of the ceremony, and Professor Emeritus Royce Saltzman was master of ceremonies. In addition, Professor Hal Owen, a close friend of the Frohnmayer family, composed a new work, Oregon Fantasia, especially for the occasion. The piece was a musical tapestry that wove themes from "The Oregon Pledge Song" and "Mighty Oregon" into a musical premiere that was dreamlike, dramatic, and playful. The investiture opened with "Gaudeamus Igitur," an old German song in a brass setting arranged by As- sistant Professor Sid Haton, performed by the University Singers and Brass President Frohnmayer and Robert Ponto visit following the program. Choir. The Processional was Ralph Vanghan Williams' Sine Nomine, with Associate Professor Robert Ponto con- ducting the Oregon Wind Ensemble. That was followed by "America the Beautiful," again with the Singers and Wind Ensemble, and Fanfare to "La Peri" by Dukas preceded the actual investi- ture, performed by the Brass Choir. Owen's Oregon Fantasia featured brass choir and percussion, and the ceremo- nies concluded with the singing of "The Oregon Pledge Song," conducted by Associate Professor Richard Clark. The ample presence of music on the program was entirely appropriate, for President Frohnmayer and his family have long been supporters of music and the arts; brother John was formerly chair ofthe National Endowment for the Arts; sister Mira, a UO music alumna, is chair of the voice department at Pacific Lutheran University; and brother Phil, also a School of Music graduate, is chair of the voice department at Loyola Uni- versity. + I turned on the radio to listen to the evening news and they were discussing the events in Waco, Texas. Like many of you, my reaction was one of horror. For the remainder of my drive I kept hearing the Mozart grotesquely mixed in with the grisly details of Waco. The news brought to mind the ash cloud of the Mt. St. Helens explosion and the radiation cloud of Chernobyl-both had circled the earth, leaving real, physical, VISIBLE effects of their occurrence. In the same way, I was thinking that the news from Waco was right then circlmg the globe, affecting us all, whether we were aware of it or not. After a time of hearing the news, of living with it, I came around 1 once again to my firm conviction that those of us who are able have an obliga- / tion, in our own ways and within our own disciplines, to provide as much beauty as possible to the world, to make our "clouds," if you will, to balance some of the unbearable things that we must face. We don't control our initial responses to horrible events-we just react and those reactions are REAL. Later we may temper them, but the moment they have occurred they have already left their "ashes" on our lives. Just as people don't control their imme- diate responses to the darker things in lie, they also don't control their re- sponses to the beautiful. There remains a real need to feed our human hunger for beauty, to balance our lives. Music, whatever it may be, has meaning. Lewis Thomas talks about music this way: "If you are looking for really profound mysteries, essential aspects of our existence for which neither the sci- ences nor the humanities can provide any sort of explanation, I suggest start- ing with music. The professional musi- cologists, tremendous scholars all, for whom I have the greatest respect, haven't the ghost of an idea what music is, or why we make it and cannot be human without it, or even-and this is the telling point-how the human mind makes music on its own, before it is written down and played. The biologists are no help here, nor the psychologists, nor the physicists, nor the philosophers, wherever they are these days. Nobody can explain it. It is a mystery, and thank goodness for that. The Brandenburgs and the late quartets are not there to give us assurances that we have arrived; they carry the news that there are deep centers in our minds that we know noth- ing about except that they are there." And I say, seek them out. As a final word to my students, friends and colleagues, I would like to thank you for your listening and ask you to remember the words of a wise old Pygmy to HIS student. He was speaking of hearing the musical voice of his God, but I hope you can find a use for his insights in your processes throughout your lives: "You will soon see things of which you have never heard, and which you have never seen. Then you will under- stand things which I can never tell you. But you must stay awake-you may see them only once." + Don Addison (GTF) was a presenter and coordinator of the Native American performances for the Festival of Ameri- can Lie at the Smithsonian Institution's 150th anniversary celebration in Wash- ington, D.C. last summer. Addison also gave a lecture-demo of Native American music for the Eugene School District's Natives (Indian Education) Powwow, : "Celebrating Traditions," at Alton Baker Park in September. And spring term he curated an exhibit of African musical instruments, art objects, and cultural artifacts at the Knight Library. Addison delivered three papers at international conferences last year: "The Grand Entry Dance Song: The Birth and Evolution of a Genre" at the 39th Annual Meeting of the College Music Society; "An Igbo Musical Instrument Maker: Ethnicity, Socialization, and Ideology" at the 41st Annual Meeting of the Society for Ethnomusicology in Toronto; and "Igbo Musical Arts in Religion: The Tradi- tional Omabe Belief System" at the 39th Annual Meeting of the African Studies Association in San Francisco. Sherrie Barr (Dance) published "Funda- mentals and Dancing: Students Weaving the Link" in October 1996 in Impulse, an international journal of dance, science, medicine, and education. Steven Chatfield (Dance) has been se- lected as 1996 Man of the Year by the Board of International Research for the American Biographical Institute. His most recent professional presentations include: "Electromyographic and Kine- matic Effects of Neuromuscular Repat- terning," a paper presented in Novem- ber 1996 at a meeting of the Congress on Research in Dance, Greensboro, NC; "Electromyographic and Kinematic Patterns of Tai Chi and Modern Dance Practitioners," a paper presented in July at a co-sponsored meeting of the Inter- national Association for Dance Medicine and Science (IADMS) and the Perform- ing Arts Medicine Association (PAMA), ~i~en, and a paper by T.M. Welsh and Chatfield titled "Within-Subject Designs for Dance Medicine and Science Research," also presented at the IADMS/PAMA conference. Michael Denny performed solo and ensemble jazz in Eugene, Portland, and Seattle. As a returning member of Gha- naian master drummer Obo Addy's group, Kukrudu, he performed in Canada. North Carolina. and the North- west. &st recently he performed an entire week for the grand opening of Mobius Incorporated's New York head- quarters. He also played guitar and banjo in Marin Alsop's Oregon Festival of American Music. Janet Descutner (Dance) was involved in several events for the Oregon Festival of American Music: tapping and singing in "The 1920s in Revue," performing three improvised tap pieces with String Fever at the Hult Center, and presenting a New Faculty Appointments Four new tenure track appointments were made at the School of Music for this academic year: Susan Boynton, musicology, earned a master's degree in Medieval Studies from Yale and recently finished her doctoral degree in musicology from Brandeis. She has been awarded Fulbright, Mellon, Wilson, and NEH grants. Her research interests include medieval hymns and the Orpheus legend in the Middle Ages, and she is also a pianist who enjoys performing 19th-century chamber music. Sid Haton, associate director of bands, came to the UO last year as the visiting associate director of bands, and now fills this position permanently. Haton received his B.M.E. and M.MUS. from the University of South Caro- lina and his D.M.A. is currently in progress at the Uni- versity of Georgia. Haton has an extensive background as a band, choir, and orchestra director. He directs the Oregon Marching Band, Symphonic Band, and teaches vocal jazz. Steve Larson, theory, returns to the UO after a two- year absence to fill the permanent position of Associate . Professor of Music Theory. Larson is an alum of the xu naton School of Music, having received both his B.A. and M.A. here. He received his Ph.D. in Music Theory from &e University of Michigan in 1987. He has published exten- sively and is also an accomplished jazz pianist. Marc Vanscheeuwijck, Collegium Musicum and musicology, joined the faculty last year as a visiting instructor and has now been hired as a half-time assis- tant professor with an addi- tional part-time appointment with the College of Arts and Sciences. Vanscheeuwijck has five degrees: B.A. in History of Art & Archaeol- ogy, M.A. in Musicology, Steve Larson M.A.T. in Art History and Music History, B.A. in Romance Languages, and a Ph.D. in Musicology, all received at the State University of Ghent in Belgium. In addition to his academic pursuits, he is an accom- .-.- M~~~ vanscheeuWijck plished baroque cellist. lecture-demo on the influence of Afri- canisms through the rise of black per- formers in the development of dance in American musical theatre. In November she choreographed and performed in Tapping the Drum, a concert of North- west Tap Consort and Dance Africa. She participated in an NWTC (of which she is artistic co-director) project in Decem- ber, learning a work of Lynn Dally, artis- tic director of Jazz Tap Ensemble. Descutner will be notating the duet "'Bout a Mile" in Labanotation for the Ohio State Dance Preservation Project. Paul Dondero (GTF), a doctoral com- poser, is directing a jazz arranging project with two local high schools for the '96'97 academic year; titled "Young Arranger's Fonun," the seven-month project will consist of group meetings, private lessons, and readings. The goal of the project is to provide talented young jazz musicians with the resources and instruction they need to produce arrangements for small and large en- sembles. Two UO resources will greatly contribute to the effectiveness of the project: the readings of selectrd arrange- ments provided bv UO Jw;. Studies musicians and the Douglas Room jazz recording collection, which will greatly facilitate arranging research. Dondero has conducted numerous composition workshops with young people in Ha- waii and Oregon, and has been the com- poser-in-residence for two Eugene Op- era "Operatunities" projects and for a theatrical production at Territorial School in Junction City. Charles Dowd was an adjudicator for the 39th Annual Grammy Awards. In July he performed as percussionist with Dennis Russell Davies and recorded a CD for the Hanssler label as timpanist with Helmuth Rilling and the Oregon Bach Festival. In August Dowd was principal timpanist with the Cabrillo Music Festival in California, performing eight radio broadcasts with Marin Alsop. In October he performed Three Inventions for Solo Timpani by George Barati at the University of California at Santa Cruz and at San Jose StateUniver- sity; Dowd commissioned the piece. Dowd conducted the Oregon Percussion Ensemble in premieres of five percus- sion works: Three Phases for Marimba Quartet by Anthony J. Cirone, Sarabande for Eight Marimbas by Erik Lundborg, Mallets Aforethought for multiple percus- sion quartet by Pulitzer Prize-winning composer Wayne Peterson, Quartz City by David Johnson, and the Oregon premiere of Release by Dave Hollinden. Warner Bros. Publications released new editions of two Dowd texts: "Velocity Warmups for Jazz Vibraphone and Marimba" and "The Well-Tempered Timpanist." Dowd was timpanist on a local radio broadcast of Elgar's Enigma Variations with Lawrence Smith, and an NPR broadcast of Miguel Harth- Bedoya's debut with the Eugene Sym- phony. In December Dowd was djembe soloist in an African percussion section he assembled for an Olatunji (Africa) composition. Rita Honka (Dance) kicked off the dance department's Dance in the Schools outreach program with a pre- view of the Tapping the Drum concert. Her company, Dance Africa, begins its second year touring in Eugene-Spring- field elementary schools in February. John Jantzi (GTF) is now in his third season as chorus master with the Eu- gene Opera. He has prepared the opera chorus for gala performances, La Travi- ata, La Bohhe, Carmen, The Pirates of Penzance, and Trial by Jury. Jantzi was chorus master for Eugene Symphony's production of Bernstein's Mass last March. At the 1996 Oregon Festival of American Music he was the vocal direc- tor of Gershwin's Of Thee I Sing. Jantzi is also organist of the Central Presbyterian Church, where he occasionally gives recitals. In April he was the AGO recit- alist in "The World's Largest Organ Recital," which was performed simulta- neously with more than a hundred other recitalists around the world, com- memorating AGO'S 100th anniversary. Steve Larson was recently appointed to the editorial board of Music Theory Spec- trum. Two articles by Larson have just been published: "The ~rt Parker's Rhetoric" in the Annual Review of Jazz Studies, and "Integrated Music Learning and Improvisation: Teaching Musicianship and Theory Through Menus, Maps, & Models" in College Mu- sic Symposium. Larson gave two presen- tations at the Society for Music Theory in Baton Rouge in November: "Hidden Repetition as a Perspective on Embodied Meaning" and "Expert Expectations: Professional Theorists' Continuations Compared With a Computer Model of Musical Forces." The latter was also presented at the Fourth International Conference on Music Perception and Cognition in Montreal. Other presenta- tions include "Analysis and Analogies: Teaching Pattern and Meaning Through Music Study" at the College Mnsic Soci- ety in Atlanta, where he was also asked to perform on piano for a special recep- tion; and "Seek Well: A Model of Music Listening," at the Joint International Conference of the Fourth International Symposium on Systematic Musicology and the Second Intemational Conference on Cognitive Musicology, held in Brugge in September. Larson has been invited to give a presentation at next summer's meeting in London of the International Musicological Society: "Great Expecta- tions: The Interdisciplinary Promise of a Theory of Expressive Meaning in Mu- sic," which will be presented at a special session titled "Implications for Main- stream Musicology of Recent Research in Mnsic Cognition." Don Latarski wrote and performed the song "In Their Eyes" for the Holt Adop- tion Agencies International Conference held in Eugene in September. Latarski and his group performed a benefit con- cert for the Holt Agency in December. Latarski also released a blues-based CD titled Deep Play on Crescent Records. He wrote an article for Guitar Player maga- zine titled "The Art of Linking." The audio version of this article has been released by Notes on Call, and is part of a compilation of audio lessons from Guitar Player magazine; it made the top ten list of most requested audio lessons. Gregory Mason had a June concert at Wildwood Festival in Little Rock, Arkan- sas, and master classes at University of Nevada in June and August. He partici- pated in concerts and a CD project of FACULTY, continued complete Wolfe Moricke lieder with Mark Beudert and soprano Susan Dunn. J. Robert Moore was in Hungary last summer, where he attended a confer- ence at Vaja Castle and delivered a pa- per dealmg with the Hungarian tarogato, a folk instrument which he first investi- gated while on a UO Summer Research Grant in 1991. While in Hungary he also L played three oboe-piano recitals with Barbara Gonzfilez-Palmer (formerly School of Music faculty, and now at Rutgers University). The recitals were at Josef Attila University in Szeged, at the Civic Music School in Nyiregyhaza, and at the Rakoczi Castle in Szerencs. In January 1997 he and Gonzfilez-Palmer gave a recital at Baylor University. Randy Moore presented a research paper at the National Music Therapy Association Conference in Nashville in November. The paper, titled "Influence of Music on Blind and Sighted Youth: Transformation of Self-concept through Creative Movement," was co-authored with Klara Kokas of Budapest. Julia Neufeld released a new CD, What Is This? through independent distribu- tion in August. The recording contains a wide variety of traditional and contem- porary gospel music, including one of her own compositions, "0 But to Touch the Nail Scarred Hand." Neil1 Archer Roan, Oregon Bach Festi- val executive director, delivered the key- note address at the Alberta Arts Show- case in Edmonton in October. Roan also presented workshops on marketing strategy, planning, and managing cus- tomer loyalty. Royce Saltzman was one of 13 North- western University alumni to receive an Alumni Merit Award this year. The awards are presented to alumni whose distinguished careers have brought credit to their aha mater. Saltzman received his master's degree from Northwestern. Marian Smith's essays on the ballet Cinderella and the opera Don Giovanni Jeff Stolet, director of the Electroacoustic Music Program in the School of Music, was named Educator of the Month in December by Macromedia, the giant of the multimedia software industry. Stolet's award was for his work as content specialist on a multimedia introduction to electronic music, "Electronic Music Interactive," developed at the University of Oregon's New Media Center-a facility available to faculty who are interested in developing and publishing interactive, computer- based instructional materials and courseware. "Electronic Music Interactive" is a state-of-the-art example of network-deliverable instructional materials. Created in Director for Shockwave, it includes 80 original diagrams, 50 original interactive animations with sound, and over 100 interactive glossary terms explaining content distributed across 38 topics. It is all made accessible by an intuitive navigation sys- tem. The project took ten months to develop. Stolet worked with 13 advanced stu- - The home page screen from the Electronic Music Interactive appeared in the program books of the Royal Ballet and Royal Opera (Covent Garden, London) this season. She re- cently completed review projects for the National Endowment for the Humani- ties and for Oxford University Press. Smith also presented a paper titled "An Unsuitable Giselle" at the national meet- ing of the American Musicological Soci- ety in Baltimore. In addition, she has completed an entry for the New Grove Dictionay on choreographer-violinist Arthur St. L&on. Stephen Stone presented a lecture- concert for the Oregon Festival of American Music in August. The pro- gram, "The 1920s in Revue," featured a group of ten instrumentalists and eight singers who presented songs from early Broadway shows. Mary Lou Van Rysselberghe serves as the US. Commission Member on ISME's Early Childhood Music Education Com- mission, along with five others who represent Germany, The Netherlands, South Africa, Hong Kong, and Canada. She recently shared responsibility for a five-day research seminar in England. Claire Wachter won a national competi- tion to be a featured chamber music and solo artist at the Rome Festival in Italy. In October Wachter participated on two committees for the 1996 National Piano Pedagogy Conference in Chicago. In November she judged the Idaho Music Teachers Association's Yamaha and Collegiate Piano Competition. Carl Woideck's Charlie Parker: His Music and Life was published by the University of Michigan Press in November. He also wrote an instructor's manual for Prentice-Hall and liner notes for a Jerome Kern anthology on the Verve Label. Woideck also presented a paper titled "Charlie Parker: Goals and Ac- complishments, 1950-55," at the Sonneck Society 1995 National Conference. He is currently assembling two jazz antholo- gies for Schirmer Books. Rick Wolfgang retired as conductor of the Eugene Youth Symphony's Junior Orchestra after 19 years of service. He was the orchestra's first conductor, and was given a special commemorative plaque at the final concert last spring. 4 Audrey A. Mistretta-Bingham (B.Mus. 1955) sang the roles of Giovanna and Maddalena in Verdi's Rigoleffo for the Italian Cultural Society of Sacramento. last year. She resides in Fair Oaks, CA. Alice Olsen (M.Mus. 1977) of Van- couver, WA, had several new publica- tions released in 1996: Dance Through The Days (dance music for Orff instruments) -her 32nd publication by Alice Olsen Publishing Co.; Celebrate (holiday songs for Orff instruments) by Warner Bros.; The Animals Hoedown, The Gift of Love, Hear the Sleighbells Ring as We Go, and Love Goes Round and Round in a Circle, (elementary choral) by Hal Leonard Publishing Corp; and Land of the Silver Birch, Canadian songs arranged for Orff instruments and published by Waterloo Music. R. Joseph Dicker (M.Mns. 1980) of Cau- ton, MO, was promoted to full professor at ~ulver-Stockton College. ~eis tor of Bands and teaches clarinet and music theory. He is also principal clari- net of the Quincy (IL) Symphony. Lynn Baker (M.Mus. 1981) is Director of Jazz Studies and Commercial Music at the University of Denver's Lamont School of Music. The jazz faculty from the school has just released its first CD, The Climb, and are currently searching for ways to distribute it. You can E-mail Baker, or call (303) 871-6429 for ordering information. The Climb was also "Artist/ Clinicians" choice at the 1995 IAJE Con- ference in Anaheim. CA. (Baker savs he heard the Oregon Jazz Ensemble there.. . "the most musical large jazz ensemble performance at the conf&ence!") In June Baker assumed the role and title of Di- rector of Admissions for the School. He and wife Kalin (Blaco, UO Interior Ar- chitecture class of '83) have an addition to their family, Nathaniel, born May 1994. Baker attended a six-state solo clinic/concert tour of the Midwest that included performances with the Cedar Avenue Big Band (which he co-founded as musical director ten years ago) in St. Paul, MN, and lectures at the Indiana University School of Music. The Bakers enjoy life in Colorado and invite their musical Duck friends from days gone by to call if you're in town. Richard Smith (B.Mus. 1984) was awarded the position of Associate Pro- fessor with tenure at the University of Southern California, where he has chaired the Studio/Jazz Guitar depart- ment (one of the largest of its kind) for five years. Last spring he introduced the country's first doctoral program in jazz guitar performance, and he is now also the Director of Curriculum at the Inter- national Musicians Academy of Malay- sia. Smith's students have gone on to perform with artists as diverse as Ray Charles, Shadowfax, Kitaro, Joe McBride, Juan Carlos Iglesias, and Lee Greenwood, and they teach in jazz and guitar programs throughout the United States. Smith performs over 100 concerts a year with his own ensemble as well as with Bluenote recording artist Richard Elliot, RCA's Warren Hill, and occasion- ally with fellow UO graduate Dan Siegel. Smith is currently working on a fiih solo album with Paul Brown (Luther Vandross producer), and would enjoy hearing from old acquaintances and making new liaisons via E-mail: rsmith@mizar.usc.edu. You may visit the USC Studio/Jazz Guitar department web site at: http://www.usc.edu/dept/ guitar. Smith and his wife Lynn live in Los Angeles, but will be spending their summers on Lopez Island, WA. Timothy Tikker (M.Mus. 1983) has been appointed full-time organist and music associate at the cathedral of St. John the Baptist, a church that serves a parish of 800 families in Charleston, SC. Tikker was organist at several Eugene area churches, and had been organist and choir director since 1991 at West- minster Presbyterian Church in Eugene. Laura Bartholomew Young (B.Mus. 1988) is enjoying motherhood very much as she cares for daughter Marin Alana Young, born last year. She had previously taught K-4 General Music at Liberty Elementary school in Azle, TX, teachmg 9-13 classes of 30-65 students each, every day. In addition to directing the Children's Choir at First Christian Church in Denton, she plans to continue graduate studies in flute at the Univer- sity of North Texas. Jane Bessonette-Schrepping, (B.Mus. 1990) received an assistantship from Portland State University's Department of Music to teach class piano, assist with bands, and earn her master's degree in music. Since 1990 she has been a music teacher with Portland public schools. She also plays French horn in the Cas- cade Brass Quintet. Jeff Edom (B.Mus. 1990) was recently named Marching Band Director at Cali- fornia State University at Sacramento. His teaching responsibilities include the marching and basketball bands, as well as coordinating recruiting efforts for the Music Department. Jeff lives in Sacra- mento with his wife Lynette and twin daughters Corinne and Kathryn. Ty Young (M.Mus. 1990) fmished his DMA in Cello Performance at the Uni- versity of North Texas' College of Music last year. He is now performing with several prominent orchestras in the Dallas area, including the Dallas Bach Society, Orchestra of New Spain, Fort Worth Symphony Orchestra and Richardson Symphony Orchestra. Tiffany Mills (B.A. Dance, 1992) is living in New York City, where she has co-founded her own dance company, "Mills & Payne Dance," with her col- league, Ursula Payne. In October 1996 their company premiered in NYC at the Merce Cunnigham Studio, after touring to Washington, D.C. to perform at the Dance Place. Another UO alum, Michele Bloom (MA 1994) is dancing in their company. Mills received her MFA in Choreography from Ohio State Univer- sity in 1995. Benji Tomassetti (M.Mus. 1987) and wife Beth had a boy, Anthony, born November 15. Neil Patton (B.A. 1994) married Cather- ine Lindquist (B.A. 1994) on July 13, 1996. They live at 4495 Marcum Lane in Eugene. Joanne Riesch Clarke (B.S. 1941) died of a heart attack last Februaly at age 76. Clarke studied music education and sociology at the University of Oregon. She was a soprano soloist with the Riv- erside (CA) Master Chorale for 20 years and assistant choir director for the First Congregational Church in Riverside. She founded the Riverside Braille Club and : served as volunteer executive director for 30 years. Clarke received several community service awards, including the Soroptomist Golden Key Award and the Riverside Master Chorale's Presiden- tial Citation Award. Joseph T. Haugen (M.Mus. 1954) passed away a year ago at age 84. Haugen taught band in the Bend School District from 1947 to 1975. Prior to that he taught at Rockford, Iowa (1936-39) and Grand Forks, North Dakota (1939- 47). Haugen was born in Minnesota, received his bachelor's degree with a major in English and a minor in music at Concordia College in 1936, and a master's degree at the University of Oregon. He served in the armed forces from 194445. A percussionist, Haugen toured Norway with the Concordia Band and performed with the Bend City Band for many years. He also served as assistant director of the Bend Gleemen. Homer Todd Keller, professor emeritus, died last May after a lengthy illness. He was 81. He taught composition and theory at several institutions, including Indiana University, University of Michi- gan, and University of Oregon, until he retired in 1977. Keller was a recognized composer of classical music. In 1949 his piano concerto was played at the Ojai Festival. In the 1940s his Symphony No. 1 was awarded the Henry Hadley Prize as the best American composition of that year. The piece was then performed by the New York Philharmonic, conducted by John Barbirolli. Keller received his Bachelor of Arts and master's degrees from the Eastman School of Music. After graduation, he received a Fulbright Scholarship and studied in Paris for a year. During World War I1 he served as a warrant officer and band leader in the U.S. Army Air Corps. Don Loftus (B.S. 1955, M.Mus. 1967) died in a car accident in 1996. A profes- HAVE WE HEARD FROM YOU LATELY? 2/97 UO School of Music & Dance Alumni WHAT'S UP? NAME Class of Degree Comments My current address: (please print) This is a change of address Address City State Zip Phone (day) (eve) I have more news to share! Please call me for a more complete update. L,,,,,,,,,,,,,,,,,,--,,,,,J You may also send your alumni news to Ledger Lines via E-mail c/o editor sional musician, Loftus repaired and tuned pianos, and played and gave les- sons on many instruments. He and wife Mitzi were married in 1958 in Tokyo, where Mitzi had a Fulbright grant teach- ing English. They ran a tropical fish store in their home at 14th and Oak Street. With their three sons they contin- ued and built upon their many interests, activities, and services upon moving to Charleston on the Oregon Coast. Loftus was always happy to share his great love of "ol' time" songs and ragtime piano. His many interests included run- ning (he participated in 19 marathons after age 47). Active in the American Field Service, he and Mitzi hosted and aided students from several countries. Loftus was a volunteer firefighter for the past 10 years. He was active in the an- . nual Sawdust Theater, a hilarious old- time acting and musical event in Coquille. Extremely generous with their time and talents, he and Mitzi contrib- uted much to the Charleston commu- nity, teaching music and language skills in local school programs. Donations in his memory may be made to the Saw- dust Theater. Gary H. Wilson (B.Mus. 1958) passed away in 1996 at age 59. Wilson spent his entire career teaching band in the Roseburg schools, beginning in 1958; he resigned several years ago due to health reasons. He also served as Coordinator of Music for the school district. Wilson was born in Hutchinson, Kansas, and received his degree in music education at the UO. Known for his excellence as a saxophonist, Wilson passed on that same passion for excellence in music to his many students. His high school bands were of high quality, and his students were often among the best at district and state solo contests. A Gary Wilson Memorial Fund has been set up at Roseburg High School to help the Roseburg High School Band. Beth Slottee, (B.Mus. 1995), died in a car accident last October. Slottee was a first-year music teacher at Ione and Heppner schools in Oregon. A music scholarship in her name has been set up in care of the Bank of Eastern Oregon, PO Box 309, Heppner OR 97836. + Scott Barkhurst at scottb@oregon.uoregon.edu 1 You Can Help in Many ~a$ loan C. Gardner, Divector of Development Joan Gardneu, Richard Clark, Janet Stewart, and Anne Dhu McLucas at PittockMansion's annual alumni Christmas party. T he Oregon Campaign, having sur- report many good things, many new beginnings. At the School of Music and Department of Dance we have many donors to thank, whom we list in this issue. Thank you all for your generosity Faced with an unexpected piano deficiency this fall, we were fortunate to have pianos donated in response to a request made by Dean McLucas to the community. Pianos indeed came to us, from all sorts of places! Faculty and students were thrilled, especially from the timely gift of a Stein- way grand piano from Mr. Gordon Gilkey of Portland. When I say timely, Mr. Gilkey responded to an evening call from the Dean and allowed us to pick up his piano the next morning at 6:30 a.m.! News for our string department came when Mr. Gilkey contributed two violins valued at $150,000 to endow the Vivian Malone Gilkey Memorial String Fellowship award. The violins are being auctioned in New York and the proceeds will establish the endowment-a signifi- cant contribution to the School of Music scholarship roster. A dinner at the Uni- versity Club in Portland took place De- cember 19 to honor this significant gift. Progress continues for the Robert Vagner Memorial Fund, which was in- troduced last year. We have had over 80 gifts from Vagner's former students and colleagues, following Mrs. Helen va@erfs generous lead gift establishing the endowment. This fund will provide long-term faculty support for the UO band department as the principle increases. Vagner's many students have shown strong support in memorializ- ing this significant leader. In October the Oregon String Quartet performed for San Fran- cisco Bay area alumni and friends in a Cham- ber Music and Tea event at the Metropoli- tan Club. Later that month Dean Kramer, a member of our piano faculty and one of the last stu- dents of the legendary Vladimir Horowitz, gave a benefit concert in Port- land to raise money for the Piano En- dowment Fund. These outreach concerts are open to all alumni and friends of the UO School of Music. It's fun to renew acquaintances at these occasions, par- ticularly when the performances are so good! As we continue to build security for our programs and enhance our ability to serve our almost 400 music majors, I would like to share with you our most immediate areas of need: Piano Endowment Fund for restora- tion, purchase, and replacement of pianos $1 million Beall Hall Restoration $10O,00OX "seats may be purchased at $300 each Piano Accompaniment Residency $50,000 Gifts to Dean's Discretionary Fund -Performance outreach for jazz (travel) $3500 - Oregon Symphony Residency (April) $5000 - CMI Suzuki String Instructor seed money $5000 - Faculty Travel for Performance $1000 -Upright pianos for practice rooms $1200 Vivian Gilkey Memorial String Fellowship Robert Vagner Memorial Endowment I am happy to meet or talk with you about ways to support any of these projects. Feel free to call me on campus (541-346-5687), at the Portland Center (503-725-8710) or by E-mail: jgardner@oregon.uoregon.edu Our thanks to the following businesses and individuals who donated or pledgedfunds to the School of Music and/or Department of Dance in Calendar year 1996 (up to early December). Thanks also to those who gave to the Chamber Music Series or the Oregon Back Festival; those contributors are listed in their respective programs. Dr. Gordon W. Gilkey Mrs. Evelyn Dew Nye James & Ginevra Reed Ralph James Hull & Audrey Aasen-Hull Sherman, Clay, & Company Ms. Helen Vagner Ms. Arlene Wright Robert &Dixie Haugen Harrison Mr. Francis Dorm Mrs. Maxine C. Barnes Virgil &Caroline Boekelheide Centennial Bank Owen and Mrs. Lynn B. Daly Mmnd Mrs. Robert J. DeArmond Charles Eaton &Frances F. Hancock Timothy & Vuginia Cha Foo Ann & Gordon Getty Foundation Wayden & Maryann E. Jim Mu Phi Epsilon Patroness Phi Beta Patrons Walter &Karin D. Poida The Presser Foundation Mary F. Ross Gilbert & Thelma E. Schnitzer Jahn & Mary E. Tachouet U.S. Trust Company1PacificN.W. Mrs. Margaret J. Willard Women's Choral Society $500-$999 Ms. Marin Alsop Charles & Roseann Colosimo Richard & Patricia Don Sylvia L. Killman Tam & Catherine A. Lee James & Lois R. McConnell Ms. Cynthia K. Ruhaloff Mrs. Jean Carkin Sanesi John and Mrs. Betty J. Siebs James & Deborah Duce Straughan U.S. Bancorp Miss June Winter John &Kelly Adamson Archer Mr. Robert A. Arms Tom Astle & Saralee Mehick AT&T Foundation Richard & Clare Beal Bantsari Raymond & Roma K. Barker Mrs. Nancy Highhnan Belcher Richard &KarenKollmorganBemis RichardBenedum&Dr. JulaneRodgers Cordon & Janell Bittner Harlan & Rebecca B. Bittner Daniel & Christel Bochard Jay & Rachel Taylor Brawn Mark & Natalia V. Brown Tom F. Brumbaugh, Jr. Richard & Suzan Eklof Campbell Ms. Ann Canete Jeffrey & Pat H. Carlson Ronald &Marlene E. car pa^ Robert & Leslie Green Casebeer Delbert & Marie Chinburg Ms. Michelle L. 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